CATALOGUE 

OF  THE 

EXHIBITION 

OF  THE 

NEW-YORK 

GALLERY  OF  THE  FJNE  ARTS 


FOUNDED  1844-CHARTERED  1845. 


NOW  OPEN 


AT    THE  ROOMS  OF  THE 


lATIOML  ACADEMY  OF  DESIGN, 


663  BROADWAY. 


NEW-YORK: 

E.    B.    CLAYTON    &    SONS,   PRINTERS    AND  STATIONERS, 
No.  161  Pearl-street. 

1S50. 


CATALOGUE 

OF  THE 

EXHIBITION 

OF  THE 

NEW-YORK 

eALLERY  OP  THE  FINE  ARTS. 


FOUNDED  1844-CHARTERED  1845. 


N  O  W   O  P  E  N 

AT    THE  ROOMS  OF  THE 

lATIOIAL  ACADEMY  OF  DESKI, 

663  BROADWAY. 


N  E  W  -  Y  O  R  K  : 

E.   B.    CLAYTON   &   SONS,   PRINTERS   AND  STATIONE'RS, 
No.  IGl  Pearl-street. 

1850. 


OFFICERS. 

JONATHAN  STURGES,  President. 
F.  W.  EDMONDS,  Vice-President. 
EDMUND  M.  YOUNG,  Treasurer. 
JOHN  DURAND,  Secretary. 

EXECIJTIVJE  COIVIIUITTEE. 

HORATIO  ALLEN,  A.  M.  COZZENS, 

CHARLES  M.  LEUPP,  JOHN  H.  GOURLIE, 

W.  S.  CONELY. 


TRUSTEES. 


WILLIAM  H.  APPLETON, 

WILLIAM  H.  JOHNSON, 

HORATIO  ALLEN, 

ALFRED  JONES, 

JOHN  H.  AUSTEN, 

SHEPHERD  KNAPP, 

JAMES  BROWN, 

J.  F.  KENSETT, 

WILLIAM  C.  BRYANT, 

CHARLES  M.  LEUPP, 

HENRY  K.  BROWN, 

JOSEPH  N.  LORD, 

WILLIAM  B.  COZZENS, 

CHARLES  E.  MILNOR, 

ABRAHAM  M.  COZZENS, 

ROBERT  B.  MINTURN, 

THOMAS  S.  CUMMINGS, 

STEWART  C.  MARSH, 

WILLIAM  S.  CONELY, 

HAMILTON  MURRAY, 

JOHN  L.  CADY, 

ADAM  NORRIE, 

JOHN  G.  CHAPMAN, 

LORA  NASH, 

ORVILLE  DEWEY, 

ED.  D.  NELSON, 

CHARLES  DENISON, 

ALFRED  PELL, 

FREDERICK  DE  PEYSTER, 

ELEAZAR  PARMLY, 

NICHOLAS  DEAN, 

GEO.  P.  PUTNAM, 

ASHER  B.  DURAND, 

J.  SMYTH  ROGERS, 

JOHN  DURAND, 

JONATHAN STURGES, 

FRANCIS  W.  EDMONDS, 

RUSSELL  SMITH, 

THOMAS  H.  FAILE, 

FRANCIS  SKIDDY, 

DUDLEY  B.  FULLER, 

CHARLES  A.  STETSON, 

JOHN  H.  GOURLIE, 

.*DANIEL  SEYMOUR, 

WILLIAM  GALE, 

JAMES  WARREN,  Jr. 

RICHARD  IRVIN, 

FREDERICK  H.  WOLCOTT, 

CHARLES  C.  INGHAM, 

EDMUND  M.  YOUNG 

*  Deceased. 


REMARKS. 


On  presenting  to  the  public  the  exhibition  of  the  works  of  the 
New- York  Gallery  of  Fine  Arts,  it  is  proper  to  state  the 
objects  which  its  founders  had  in  view  in  establishing  the  insti- 
tution. A  permanent  Gallery  of  Paintings,  Sculpture  and  En- 
graving, is  the  ornament  of  almost  every  city  of  the  world  that 
equals  in  population  the  city  of  New- York.  That  New- York, 
with  her  wealth,  enterprise  and  general  intelligence,  should  be 
destitute  of  one  of  the  features  which  indicate,  in  other  cities,  a 
liberal  and  refined  people,  has  been  a  source  of  regret  and  morti- 
fication to  all  who  feel  a  just  pride  in  her  character  and  prosperity. 
To  supply  this  want,  attempts  have  been  made  without  success, 
by  many  able  and  intelligent  individuals  ;  but  recently  an  oppor- 
tunity was  presented  for  securing  this  desirable  result. 

Several  years  since,  the  late  Luman  Reed,  distinguished  as  a 
merchant,  and  the  enlightened  promoter  of  the  arts,  commenced 
the  formation  of  a  private  Gallery.  The  ardent  and  generous 
friend  of  our  own  artists,  he  intended  it  should  be  emphatically 
a  Gallery  of  American  Art.  He  had  adorned  it  with  the  pro- 
ductions of  the  genius  and  skill  of  a  number  of  our  most  eminent 
artists,  and  had  formed  a  collection  unequalled  in  our  city,  when 
death,  in  the  midst  of  his  career,  put  an  end  to  the  grand  object 
he  had  in  view. 

In  the  settlement  of  his  estate,  consequent  to  his  decease,  it 
became  necessary  to  make  some  disposition  of  this  collection. 
To  separate  and  disperse  it,  piece  by  piece,  was  like  tearing 
down,  stone  by  stone,  a  monument  erected  by  taste  and  liberality. 
It  was  a  painful  idea  to  all  who  had  been  in  any  way  connected 
or  associated  with  him — to  his  fellow  merchant— to  his  family  and 
friends — to  the  artist  and  lover  of  the  arts.  To  keep  the  collection 
entire,  to  retain  it  in  our  city,  to  make  it  the  foundation  of  a  great 
Gallery  of  Art,  and  at  the  same  time  a  monument  to  the  memory 
of  Luman  Reed,  was  the  united  wish  of  all.  A  plan  was  sug- 
gested, which  met  the  approbation  of  all ;  and  taste  and  wealth, 
gratitude,  respect  and  affection  united  in  its  accomplishment. 


4 


Accordingly  an  Association  was  formed,  measures  immediately 
adopted  for  raising  the  necessary  funds,  which  were  successful, 
and  the  *'  Reed  Collection''''  is  now  the  property  of  the  Association. 

It  must  be  borne  in  mind,  however,  that  this  is  but  the  com- 
mencement of  a  Gallery  which  it  is  believed  will  grow  with  the 
growth  of  the  city,  until  it  shall  become  worthy  of  the  city  of 
New-York. 

One  of  the  most  attractive  exhibitions  in  London  is  that  of  the 
"National  Gallery."  It  was  founded  in  1823,  when  Parliament 
voted  .£57,000  for  the  purchase  of  the  Angerstein  collection,  con- 
sisting of  thirty-eight  pictures.  In  1825,  £15,000  more  were 
voted  for  an  additional  purchase  of  four  pictures,  making  over 
three  hundred  and  fifty  thousand  dollars,  for  forty-two  pictures. 
These  high  prices  should  not  discourage  us ;  they  were  paid,  not 
solely  because  the  paintings  were  of  extraordinary  merit  and 
beauty,  masterpieces  of  genius,  but  an  immense  additional  value 
was  attached  to  them  because  they  were  painted  very  many 
years  previous ;  that  from  the  hands  which  executed  them  there 
could  be  no  more  originals,  and  were  consequently  eagerly 
sought  after  by  the  wealth  and  royalty  of  Europe. 

In  1836,  the  catalogue  of  the  National  Gallery  numbered  114 
pictures;  of  these,  69  had  been  added  by  bequest  or  donation. 
Among  the  principal  donors  are  the  names  of  Sir  Geo.  Beaumont, 
Rev.  Hoi  well  Carr,  the  Marquis  of  Stafford,  Earl  of  Liverpool, 
Rev.  W.  Long  and  WilHam  Wilkins,  Esq. 

The  New-York  Gallery  of  the  Fine  Arts  commences,  it  is  be- 
lieved, under  auspices  quite  as  favorable  as  those  of  the  cele- 
brated Gallery  of  the  British  metropolis,  and  may  we  not  hope 
that  the  friends  of  the  Fine  Arts  here  will  do  as  the  friends  of  the 
Fine  Arts  have  done  in  London?  Already,  indeed,  has  the  ex- 
ample been  followed  by  several  of  our  most  distinguished  artists 
— who  have  presented  or  liberally  offered  to  enrich  our  Gallery 
with  the  productions  of  their  genius  and  skill. 

It  may  not  be  out  of  place  here  to  refer  to  the  fact,  that  by  the 
constitution  the  trustees  are  restricted  from  creating  any  liability 
on  the  part  of  the  Association,  and  that  they  cannot  in  any  way 
dispose  of  any  of  its  property.  A  work  of  Art  presented  must 
ever  form  a  part  of  the  Gallery,  and  can  never  be  alienated,  and 


5 


a  recent  act  of  the  Legislature  has  removed  the  objection  of  per- 
sonal liability,  as  no  one  can  now  be  liable  beyond  the  one  dollar 
which  constitutes  him  a  life  member. 

It  is  .hoped  that  this  Gallery  will  plead  its  own  cause  with 
those  who  visit  it.  But  it  may  not  be  improper  to  suggest  to 
them  its  need  of  the  public  patronage,  and  to  desire  them  to  ap- 
prize their  friends  of  the  extremely  easy  terms  on  which  its 
advantages,  both  present  and  prospective,  may  be  enjoyed ; 
prospective  as  well  as  present,  for  no  assessments  or  taxes  are 
ever  to  be  imposed  on  the  shareholders.  And  yet  the  objects 
are  as  great  as  the  means  are  humble.  There  is  nothing  that 
our  country  lacks  so  much  as  the  refining  influence  of  Art.  And 
we  feel  sure  that  we  may  commend  the  undertaking  to  build  up 
a  Gallery  of  Art  in  this  city,  to  the  support  and  patronage  of  our 
people. 

AN  ACT 

To  Incorporate  the  New-York  Gallery  of  the  Fine  Arts. 

Passed  May  13th,  1845,  by  a  two-lhird  vote. 

The  People  of  the  State  of  New- York,  represented  in  Senate  and 
Assembly,  do  enact  as  follows : 
§  1.  Horatio  Allen,  William  H.  Appleton,  John  H.  Austin, 
James  Brown,  William  C.  Bryant,  WiUiam  B.  Crosby,  Thomas 
S.  Cummings,  WiUiam  S.  Conely,  Stephen  M.  Chester,  Peter 
Cooper,  Nicholas  Dean,  Charles, Denison,  Orville  Dewey,  Fred- 
erick De  Peyster,  Francis  W.  Edmonds,  Robert  Elder,  Thomas 
H.  Faile,  Walter  C.  Green,  George  Grundy,  Richard  Irvin, 
WiUiam  H.  Johnson,  William  Kent,  James  G.  King,  Shepherd 
Knapp,  Charles  M.  Leupp,  Joseph  N.  Lord,  Charles  E.  MUnor, 
Robert  B.  Minturn,  Henry  S.  Mulligan,  Stewart  C.  Marsh,  Ham- 
ilton Murray,  James  McCuUough,  Lora  Nash,  Adam  Norrie, 
Eleazer  Parmly,  Alfred  PeU,  J.  Smyth  Rogers,  Peter  A.  Scher- 
merhorn,  Jonathan  Sturges,  Benjamin  D.  Silliman,  Francis 
Skiddy,  Charles  A.  Stetson,  Moses  Taylor,  Thomas  Tileston, 
James  Warren,  Junior,  Jacob  A.  Westervelt,  John  Wiley,  Fred- 


6 


erick  H.  Wolcott,  and  such  other  persons  as  now  are,  or  hereafter 
may  become  associated  with  them,  are  hereby  constituted  a 
body  corporate,  under  the  name  of  "  The  New-York  Gallery  of 
the  Fine  Arts." 

§  2.  The  object  of  the  corporation  hereby  created,  is  to  estab- 
lish in  the  city  of  New-York  a  permanent  gallery  of  paintings, 
statuary  and  other  works  of  art. 

§  3.  The  property  of  the  said  corporation  shall  consist  of  such 
works  of  art  as  the  said  associates  have  already  acquired,  and 
which  the  said  corporation  shall  hereafter  acquire,  and  of  such 
other  personal  property  as  shall  be  necessary  or  convenient  for 
the  exhibition  of  the  same  :  and  of  such  real  estate  as  the  said 
corporation  shall  acquire,  the  annual  income  of  which  shall  not 
exceed  ten  thousand  dollars. 

§  4.  The  property  and  affairs  of  the  said  corporation  shall  be 
managed  by  a  board  of  fifty  trustees,  to  be  elected  by  the  mem- 
bers on  the  first  Monday  of  June  in  each  year,  and  fifteen  of 
whom  shall  constitute  a  quorum  for  the  transaction  of  business ; 
and  the  persons  named  in  the  first  section  shall  be  the  first  trus- 
tees of  the  said  corporation. 

§  5.  The  trustees  shall  have  power  to  adopt  a  Constitution,  to 
appoint  from  their  own  number  Officers  and  Committees,  and 
prescribe  their  powers,  duties  and  terms  of  office ;  to  make  by- 
laws, for  the  preservation,  increase  and  exhibition  of  the  Gallery, 
and  for  the  suspension  and  expulsion  of  members  who  violate 
any  by-law ;  to  procure  by  gift,  bequest,  or  by  purchase  for  cash 
only,  such  real  and  personal  property  as  the  said  corporation  is 
by  this  act  authorized  to  acquire,  and  in  general  to  manage  all 
the  affairs  of  the  said  corporation. 

§  6.  The  trustees  shall  have  no  power  either  to  create  any 
debt  or  liability  on  the  part  of  the  said  corporation,  or  to  sell,  ex- 
change or  lend  any  of  its  works  of  art,  or  to  do  any  thing  by 
which  any  of  its  property  can  be  encumbered,  or  to  impose  any 
assessment  on  its  members. 

§  7.  The  payment  of  one  dollar,  and  subscription  of  the  con- 
stitution, shall  constitute  the  person  making  such  payment  and 
subscription  a  member  for  life,  subject  to  suspension  or  removal 
for  violation  of  any  by-hiw  or  regulation. 


7 


§  8.  Each  member  shall  receive  a  certificate,  which  shall 
entitle  him  to  free  admission  to  the  gallery  whenever  it  is  open, 
so  long  as  he  shall  comply  with  all  the  by-laws  and  regulations. 

§  9.  The  said  corporation  shall  possess  the  general  powers, 
and  be  subject  to  the  restrictions  and  liabilities  prescribed  in  the 
third  title  of  the  eighteenth  chapter  of  the  first  part  of  the  Revised 
Statutes. 

§  10.  This  act  shall  take  effect  immediately. 

State  of  New-  YorJct  > 

Secretary's  Office.  )  I  have  compared  the  preceding  with 
an  original  act  of  the  Legislature  on  file  in  this  oflSce,  and  do  cer- 
tify that  the  same  is  a  correct  transcript  therefrom,  and  of  the 
whole  of  the  said  original. 

ARCHIBALD  CAMPBELL, 

Deputy  Secretary  of  State. 

Albany,  June  4,  1845. 


CATALOGUE 

OF  THE 

EXKIBITZOXV 

OF  THE 

NctD-Hork  (Gallery  of  t\)t  lint  IKxis. 


No.  SUBJECTS  OF  THE  PAINTINGS.  ARTISTS. 

1.  Wreath  of  Flowers,  encircling  Holy  Family — 

Antique,  Italian  School. 

(Reed  Collection.) 

2.  Boy  fallen  asleep  over  his  dinner,        -  Fhilij?- 

(Reed  Collection.) 

3.  Portrait  of  Luman  Reed,       -  A»  B,  Durand, 

Presented  to  the  Gallery  by  tlie  Artist. 

4.  Washington,       -       -       -  A,  B.  Durand. 

From  the  Standard  original,  by  Stuart,  in  the  Gal- 
lery of  the  Boston  Athenaeum.    (Reed  Collection.) 

5.  An  Austrian  Princess  of  the  17th  century,  Guido. 

Loaned  by  Lewis  Cruger,  Esq. 

6.  Lafayette,       -       -       -       -        C  C  Ingham, 

Painted  from  life  in  1825,  and  is  the  original  head 
from  which  was  made  the  full  length  for  the  State,  now 
in  the  State  Department,  Albany. 

Presented  to  the  Gallery  by  the  Artist. 

The  Course  of  Empire,"  -        Thomas  Cole. 

A  series  of  five  pictures,  illustrating  a  nation's  rise, 
progress,  greatness,  decline  and  fall,  and  the  conse- 
quent changes  in  the  same  landscape. 

Note. — The  isolated  rock  crowning  a  precipitous  hill,  in  the 
distance,  identifies  the  scenes  in  each  of  the  series,  but  the  ob- 
server's position  varies  in  the  several  pictures. 

"  First  freedom  and  then  glory,  wheu  that  fails, 
Wealth,  vice,  corruption." 


9 


no.  subjects  of  the  paintings.  artists, 

[first  of  the  series.] 

7.  The  "  Savage  State,"  or    Commencement  of  Empire." 

The  sun  is  rising  from  the  sea,  over  a  wild  scene  of 
rocks,  forests  and  mountains,  dissipating  the  clouds  and 
darkness  of  night.  Man,  attired  in  skins,  is  seen  en- 
gaged in  the  wild  dance,  and  the  chase,  the  character- 
istic occupations  of  the  savage  life.  In  this  picture, 
we  have  the  first  rudiments  of  society.  Men  have 
banded  together  for  mutual  aid.  The  useful  arts  have 
commenced  in  the  construction  of  the  canoe,  the 
weapon  and  the  hut,  and  we  may  imagine  the  germs 
of  two  of  the  fine  arts,  Music  and  Poetry,  in  the  sing- 
ing usually  accompanying  the  dance  of  the  savage. 
The  empire  is  asserted,  to  a  limited  extent,  over  sea, 
land,  and  the  animal  kingdom.  It  is  the  season  of 
Spring, — the  morning  of  the  nation's  existence." 
[second  of  the  series.] 

8.  The  Arcadian,"  or  "  Pastoral  State." 

Ages  have  passed,  a  change  has  been  wrought  in 
the  scene — man  has  subjugated  "  the  un tracked  and 
rude."  We  now  see  the  shepherd  and  his  flocks,  the 
ploughman  upturning  the  soil,  and  the  wafting  sail, — 
by  the  shore  a  village,  and  on  the  hill  the  ascending 
smoke  of  sacrifice.  In  this  picture  we  have  agricul- 
ture, commerce  and  religion.  In  the  aged  man  de- 
scribing the  mathematical  figure, — the  rude  attempt  of 
the  boy  in  drawing — in  the  female  figure  with  the 
distaff, — the  vessel  on  the  stocks, — in  the  primitive 
temple  and  the  dance  of  the  peasants  to  the  music  of 
the  pipe,  we  have  evidence  of  the  advance  made  in 
science,  in  the  useful  and  the  fine  arts.  ■ 

It  is  early  summer,  and  the  sun  has  descended  mid- 
way to  the  meridian. 

[third  of  the  series.] 

9.  "  The  Consummation  of  Empire." 

The  rude  village  has  become  a  magnificent  city. 
From  the  bay — now  a  capacious  harbor,  with  phari 
at  the  entrance,  and  thronged  with  war  galleys  and 
barks  with  silken  sails, — ascends  piles  of  architecture, 
temples,  domes  and  collonades.  The  massive  bridge, 
the  streets  and  squares  lined  with  palaces  and  adorned 
with  statuary,  clustered  columns  and  sparkling  foun- 
tains, are  crowded  with  gorgeous  pageants  and  trium- 
phal processions.  It  is  a  day  of  triumph — man  has 
conquered  man — nations  have  been  subjugated.  By 
wealth  and  power,  knowledge,  art  and  taste,  man  has 
achieved  the  summit  of  human  grandeur. 

The  sun  is  near  the  meridian. 


10 


no.  subjects  of  paintings.  artists, 

[fourth  of  the  series.] 

10.  "Destruction." 

Ages  may  have  passed  since  the  scene  of  glory. 
Luxury  has  enervated,  vice  has  debased,  and  the 
strength  of  the  mighty  nation  has  consumed  away. 
A  barbarous  enemy  sacks  the  city.  The  heavens  are 
darkened  by  a  tempest,  and  the  storm  of  war  rages 
beneath,  amid  falhng  walls  and  collonades,  and  the 
fiames  of  temples  and  palaces. 

[fifth  of  the  series.] 

11.  "  Desolation." 

The  moon  ascends  the  twilight  sky  near  where  the 
sun  rose  in  the  first  picture.  The  last  rays  of  the  de- 
parted sun  illumine  a  lonely  column  of  the  once  proud 
city,  on  whose  capital  the  heron  has  built  her  a  nest. 
The  shades  of  evening  steal  over  shattered  and  ivy- 
grown  ruins.  The  steep  promontory,  with  its  insulated 
rock,  still  rears  against  the  sky  unmoved,  unchanged, 
but  violence  and  time  have  crumbled  the  works  of 
man,  and  art  is  again  resolving  into  elemental  nature. 
The  gorgeous  pageant  has  passed- — the  roar  of  battle 
has  ceased — the  multitude  has  sunk  in  the  dust — the 
empire  is  extinct.    (Reed  collection.) 

12.  Portrait  of  President  Jefferson,         A.  B,  Durand. 

From  the  original,  in  the  possession  of  his  daugh- 
ter, Mrs.  Randolph,  by  Stuart. 

(Reed  Collection.) 

18.  Murder  of  the  Princes,       -       -       G.  W.  Flagg. 

ENTER  TYRELL. 

Tyr. — The  tyrannous  and  bloody  act  is  done  : 
The  most  arch  deed  of  piteous  massacre 
That  ever  yet  this  land  was  guilty  of. 
Dighton  aud  Forrest  whom  1  did  suborn 
To  do  this  piece  of  ruthless  butchery, 
Albeit  they  were  flesh'd  villains,  bloody  dogs, 
Melting  with  tenderness  and  mild  compassion, 
Wept  like  two  children  in  their  death's  sad  story. 
O  thus,  quoth  Dighton,  lay  the  gentle  babes, 
Which  once,  quoth  Forrest,  girdling  one  another 
Within  their  alabaster  innocent  arms ; 
Their  lips  were  four  red  roses  on  a  stalk, 
Which  in  their  summer  beauty,  kiss''d  each  other, 
A  book  of  prayers  on  their  pillow  lay  : 
Which  once,  quoth  Forrest,  almost  changed  my  mind  : 
But  O,  the  Devil,'' — there  the  villain  stopp'd 

(Reed  collection.) 


11 

N&.  SUBJECTS  OF  PAINTINGS.  ARTISTS. 

14.  Flora,   Unknown, 

Presented  by  S.  M.  Chester,  Esq. 

15.  Rembrandt,  [copied  from  the  original  by 

himself,]       _       .       -  J,  G,  Chapman. 

Presented  by  J.  G.  Chapman,  Esq. 

16.  Mother,  Child  and  Butterfly,       -      G.  W.  Flagg. 

r  (Reed  Collection.) 

17.  Lady  Jane  Grey  preparing  for  execution, 

G.  W.  Flagg. 

**  After  uttering  these  words,  she  caused  herself  to 
be  disrobed  by  her  women ;  and  with  a  steady,  serene 
countenance  submittted  herself  to  the  executioner.'* 

Hume,  Chap,  xxxvi. 
(Reed  Collection.) 

18.  Portrait  of  Mr.  Macready  as  Wm.  Tell, 

(copy  from  the  original,  by  H.  Inman,) 

T,  S,  Cummings. 

Presented  by  T.  S.  Cummings,  Esq. 

19.  Portrait  of  President  Jackson,         A,  B,  Durand, 

Original ;  taken  from  life  of  1835. 
(Reed  Collection.) 

20.  Wreath  of  Flowers,  encircling  Coat  of 

Arms  and  Miniature  of  Duke  of  Aus- 
tria, 1658,         >       -       .  F,  Marreh 

(Reed  collection.) 

21.  Portrait  of  Lord  Cottenham,       -  H,  Inman. 

22.  The  Black  Plume,       -       -  CO.  Ingham, 

Presented  by  the  Artist. 

23.  The  Old  Fiddler,  -       -  After  Teniers, 

(Reed  Collection.) 

24.  Boors  Gambling,  -       -  After  Teniers. 

(Reed  collection.) 

25.  The  Match  Girl,  (London,)       -        G,  W.  Flagg, 

(Reed  collection.) 


12 

No.  SUBJECTS  OF  PAINTINGS.  ARTISTS  . 

26.  Portrait  of  Mrs.  Washington,  Wife  of 

Washington,  A.  B,  Durand. 

From  the  original,  by  Stuart,  in  the  Boston  Athe- 
naeum.   (Reed  collection.) 

27.  Portrait  of  President  Munroe,  A,  B.  Durand, 

From  the  original,  by  Stuart,  in  possession  of 
 ,  Baltimore,  Md.    (Reed  collection.) 

28.  Portrait  of  President  Madison,         A.  B,  Durand* 

From  the  original,  by  Stuart,  at  Bowdoin  College, 
Maine.    (Reed  collection.) 

29.  Pietro  Aretino,  the  Satirist,  (copied  from 

the  original,  by  Titian,  in  the  Pitti 

Palace,  Florence,)       -  /.  G.  Chapman, 

Presented  by  J.  G.  Chapman,  Esq. 

30.  The  Bargaining,  -       -        W,  8,  Mount, 

*'  Seth  suspended  for  a  moment,  the  whittling  his 
twig,  and  there  seemed  a  crisis  in  the  argument — a 
silent  pause — when  a  shrill  voice  from  the  front  gate, 
adjourned  the  meeting  instanter.  It  was  the  voice  of 
Aunt  Nabby  herself,  breathing  authority  and  hospi- 
tality— Joshua,  come  to  dinner^  and  bring  the  folks 
along  with  your 

Jack  Downing's  Jour. — N.  Y.  Gazette,  Oct.  28, 1835. 

31.  The  Vale  and  Temple  of  Segestae,  Sicily,  2\  Cole. 

Midway  between  Palmero  and  Segestae,  the 
broad  slopes  of  an  ample  valley  lie  before  the  travel- 
ler. In  the  depth  is  a  river  meandering  among  fra- 
grant oleanders, — on  the  left  the  valley  is  intersected 
by  a  range  of  distant  mountains ;  on  the  right  is  a 
beautiful  bay  of  the  Mediterranean.  Across  the  val- 
ley the  mountains  form  a  green  amphitheatre,  and 
high  in  a  remote  part  is  seen  the  Temple  of  Segestae." 
— Notes  of  the  Artist,  made  on  a  tour  in  Sicily. 
Presented  to  the  Gallery  by  the  Artist. 

32.  Landscape,  -  Dutch  School. 

(Reed  collection.) 

33.  Rebecca,       -       -       -       .  G.  W.  Flaggy 

(Reed  collection.) 

34.  The  Fortune  Teller,       -       -  W,  S.  Mount. 

Presented  bv  the  Artist. 


13 

No.  SUBJECTS  OF  PAINTINGS.  ARTISTS. 

35.  Lady  and  Parrot,  -       -  G.  W.  Flagg. 

(Reed  Collection.) 

36.  The  Huntsman's  Tent — game  and  dogs 

after  a  hunt,  -       -       _       .  jpyf^ 

(Reed  collection.) 

37.  Landscape — Composition  Italian  Scenery,  T,  Cole* 

"  O,  Italy,  how  beautiful  thou  art ! 
Yet  I  could  weep,  for  thou  art  lying,  alas! 
Low  in  the  dust,  and  they  who  come,  admire  thee 
As  we  admire  the  beautiful  in  death." 

Rogers^  Italy, 

(Reed  collection.) 

38.  The  Chess  PJayers— Check  Mate,      G,  W.  Flagg, 

(Reed  collection.) 

39.  Portrait  of  President  Adams,  (the  elder,) 

A,  B,  Durando 

From  the  original,  by  Stuart,  in  possession  of  his 
son,  John  Quincy  Adams.    (Reed  collection.) 

40.  Portrait  of  Dr.  Smalley,  an  associate  com- 

missioner with  Col.  T.,  under  Jay's 

Treaty,  Col,  TrumhulL 

41.  The  Truant  Gamblers,  -  W,  8.  Mount, 

(Reed  collection.) 

42.  Wrath  of  Peter  Stuyvesant,  on  learning 

the  capture,  by  treachery,  of  Fort  Casi- 

mir,       -  A,  B,  Durand, 

"  On  receiving  these  direful  tidings,  the  valiant 
Peter  started  from  his  seat—dashed  the  pipe  he  was 
smoking  against  the  back  of  the  chimney — thrust  a 
prodigious  quid  of  tobacco  into  his  left  cheek — pulled 
up  his  galligaskins,  and  strode  up  and  down  the  room, 
humming,  as  was  customary  with  him  when  in  a  pas- 
sion, a  hideous  northwest  ditty." — Knickerbocker  s 
New-York,  Book  vi.  Chap  2. 

(Reed  collection.  ) 

43.  Landscape,  View  on  the  Hudson  River,  Doughty, 

44.  Portrait  of  President  Adams,  (John  Quin- 

cy,) A,  B,  Durand, 

Original;  taken  from  life  in  1834. 
(Reed  collection.) 


14 

No.                                            SUBJECTS  OF  PAINTINGS.  ARTISTS. 

45.  Study  from  an  Old  Head.   

46.  View  on  Catskill  Creek,       -  -            T,  Cole, 


(Reed  collection.) 

47.  Dogs  fighting, 

Morland. 

(Reed  collection.) 

48.  Half  length  Portrait  of  a  Lady,  (fancy,)       W.  Flagg. 

Presented  to  the  Gallery  by  the  Artist. 

49.  The  Iniaffe  Pedlar. 

F.  TV  Edmonds, 

Presented  by  the  Artist. 

50.  Old  English  Sportsman, 

Morland. 

(Reed  Collection.) 

51.  Antumn   Scene — Corway  Peak — 

White 

Mountains — New  Hampshire, 

T.  Cole, 

(Reed  collection) 

52.  Revolutionary  Officer, 

Col,  Trumbull. 

53.  Sketch,  - 

Col,  Trumbull, 

54.  Madonna  and  Infant,  Early 

style  of  Raphael* 

(Reed  collection.) 

55.  Sketch,       -       -       .  - 

Col,  Trumbull. 

56.  Landscape,  (copy  from  Claude,) 

De  Grailly. 

Loaned  by  L.  Cruger,  Esq. 

57.  The  Wood-Chopper's  Boy, 

G.  W,  Flagg. 

(Reed  collection.) 

58.  Landscape, 

Flemish  School. 

(Reed  collection.) 

59.  The  Nun, 

G.  W,  Flagg. 

(Reed  collection.) 

60.  Assumption  of  the  Virgin,           Annibale  Caracci. 

(Reed  collection.) 

61.  The  Little  Savoyard, 

G.  W.  Flagg. 

(Reed  collection.) 

62.  A  Window  Scene. 

63.  Goblet  and  Lemon, 

W.  Van,  Aelst. 

(Reed  collection.) 

15 


No. 


SUBJECTS  OF  PAINTINGS. 


ARTISTS 


64.  The  Dutch  Bible, 


C  Verbrycko 


Presented  by  D.  Huntington,  Esq. 


65.  Pan  and  Midas, 


Goltzius, 


(Reed  collection.) 


66.  Falstaff  enacting  Henry  IV.       -       G.  W.  Flagg. 


67.  Moonlight,       -       -       -       -       -        T.  Cole. 

(Reed  collection.) 

68.  The  Pedlar  displaying  his  Wares,     A.  B,  Durand. 

(Reed  collection.) 

69.  Miniature— Dutch  Enamel.  

(Reed  collection.) 

70.  Landscape. 

71.  Landscape — Composition,  "  The  Old  Oak," 

A,  B,  Durand. 

Presented  by  the  Artist. 

72.  Marine  View,       -       -       -       -       -  Birch, 

(Reed  collection.) 

73.  Portrait  of  a  Young  Lady,  taken  in  1608, 

Flemish  School, 

(Reed  collection.) 

74.  Madonna,  Infant  and  Saint  Ann,       Italian  School, 

(Reed  collection.) 

75.  Landscape,  Moonlight. 

Presented  by  Miss  E.  Hicks, 

76.  Landscape,  View  on  the  Hudson  River,  Doughty. 

77.  Miniature — Dutch  Enamel. 

(Reed  collection.) 


(Reed  collection.) 

79.  Gervatius,  (copy  from  Van  Dyck,)    Col.  Trumbull, 

80.  Interior — Dutch  Apothecary  Shop,      Dutch  School, 


(Reed  collection.) 


78.  View  on  Catskill  Creek, 


T,  Cole, 


(Reed  collection.) 


81.  Cleopatra. 


16 

No.  SUBJECTS  OF  PAINTINGS.  ARTISTS- 

82.  View  from  Frosler  Hill,  England,      A,  Richardson. 

(Reed  collection.) 

88.  Sleeping  Female,  -       -  G.  W.  Flagg. 

(Reed  collection.) 

84.  Morning,  (from  the  original,  by  Claude,)  De  Grailly- 

85.  Evening,  do,  do  -  do. 

86.  View  near  Bridgeport,  Connecticut,  Richardson, 

(Reed  collection.) 

87.  Study  from  an  Old  Head,       -         A,  B.  Durand, 

Loaned  by  the  Artist. 

88.  Copy  from  Titian,  -   

Loaned  by  

89.  Study  from  Nature,       -       -  A,  B,  Durand, 

Loaned  by  the  Artist. 

90.  The  Music  Lesson,  a  sketch,       -  Unknown, 

Loaned  by  A.  B.  Durand,  Esq. 

91.  A  Modern  Roman  Study  from  Life,   A,  B.  Durand, 

Loaned  by  the  Artist. 

92.  Wide  Awake,       .       -       .  A.  B,  Durand, 

Loaned  by  the  Artist. 

93.  Study  from  Nature,  -  A,  B,  Durand, 

Loaned  by  the  Artist. 

94.  A  Magdalen,       -  After  Correggio. 

(Reed  collection.) 

95.  Water  Color  Drawing,  -  W,  G,  Wall, 

Presented  by  Grant  Thorburn,  Esq. 

96.  An  Allegory — Death  and  Immortality, 

— antique,       -       _       -  Italian  School. 

(Reed  collection.) 


17 


No,  SUBJECTS  OF  PAINTINGS.  ARTISTS. 

97.  The  Supper  at  the  House  of  Levi, 

(copy  from  Paul  Veronese,)  /.  K,  Fisher> 

Loaned  by  the  Artist. 

98.  Landscape,  (copy  from  Claude,)  De  Grailly, 

Loaned  by  . 

99.  Portrait  of  Col.  Fish,  (copy  from  the 

original  by  In  man,)  -       »  Shegogue. 

Presented  by  Mrs.  Nicholas  Fish. 


SMALL  SALOON. 
100.  Ruth,         -         -         -         H.K.  Brown. 

Presented  by  Miss  Eliza  Hicks. 

The  artist  has  chosen  the  moment  in  which  Ruth 
is  addressed  by  Boaz  as  she  stands  among  the  glean- 
ers. He  quoted  me  lines  of  Keats  in  the  Song  of  the 
Nightingale — 

Perchance  the  self-same  song  hath  found  a  path 
To  the  sad  heart  of  Ruth,  when  sick  for  home 
She  stood  in  tears  amid  the  alien  corn." 

She  is  not  in  tears,  but  her  aspect  is  that  of  one  who 

listens  in  sadness ;  her  eyes  are  cast  down,  and  her 

thoughts  are  of  the  home  of  her  youth  in  the  land  of 

Moab,    Over  her  left  arm  hangs  a  handful  of  the  ears 

of  wheat  which  she  has  gathered  from  the  ground, 

and  her  right  rests  on  the  drapery  about  her  bosom. 

Nothing  can  be  more  graceful  than  her  attitude,  or 

more  expressive  of  melancholy  sweetness  and  modesty 

than  her  physiognomy." — Extract  from  a  letter  hy  ^ 

Mr.  W.  C.  Bryant,  dated  Borne,  1845. 

This  statue  was  purchased  by  Miss  Hicks,  of  New- 
York,  and  presented  to  the  N.  Y.  Gallery  of  Fine  Arts. 
2 


18 


No. 


SUBJECTS. 


ARTISTS. 


101.  Group  of  Boy  and  Dog ;  or,  Chi  vinci, 


Presented  by  Charles  M.  Leupp,  Esq. 

This  playful  group  was  presented  to  the  New- York 
Gallery  by  C.  M.  Leupp,  Esq.  The  boy  has  left  his 
bowl  of  milk  upon  the  floor,  and  the  dog  is  endeavor- 
ing to  take  advantage  of  his  negligence,  by  appropri- 
ating the  contents  to  himself,  against  which  the  boy 
stoutly  protests.  They  are  so  equally  matched  in 
strength,  that  the  struggle  is  of  doubtful  issue,  and 
therefore,  the  artist  calls  it  "  Chi  vinci,  mangia,"  or, 
who  wins,  eats. 


Presented  by  Judge  Burnet,  of  Cincinnati,  O. 


103.  Chief  Justice  Marshall, 

Presented  by  A.  M.  Cozzens,  Esq. 


mangia, 


H,  K,  Brown. 


108.  General  W.  H.  Harrison, 


Clevenger. 


GALLERY  OF  THE  OLD  IMASTERS. 


The  paintings  in  this  Gallery  are  numbered  by  themselves ; 
the  same  numbers  which  they  bore  when  exhibited  in  the  Ly- 
ceum having  been  retained.  This  is  done  that  those  who  wish 
to  use  the  descriptive  catalogue  then  prepared  for  them,  may  do 
so  now  with  the  greater  ease.  These  catalogues  will  be  loaned 
to  visitors  gratis,  by  the  Keeper  of  the  Gallery.  A  few  pictures 
which  belong  to  the  collection  will  not  be  found  on  the  walls,  as 
it  was  found  impossible  to  hang  them  all  to  advantage. 


No.                                       SUBJECTS  OF  PAINTINGS. 

ARTISTS. 

1.  Landscape,          _  - 

S»  RuisdaeL 

2.  Interior  with  fio^ures, 

Chardin, 

3.  Portrait  of  the  Earl  of  Suffolk, 

Holbein. 

4.  The  Annunciation, 

CoypeL 

5.  The  Royal  Children, 

Weeninx. 

6.  The  Satyr  and  The  Traveller,  - 

Jordaens, 

7.  Landscape,          „          _          „  . 

Van  GooL 

8.  The  Presentation, 

F.  BoL 

9.  Landscape,          _          .          „  „ 

Domenichino. 

10.  Portrait  of  King  Henry  VIL, 

Flemish  School. 

11.  A  Village  on  Fire  at  Night, 

VanderpoeL 

12.  Raphael's  Amasia,  (called  La  Fornarina,) 

Raphael. 

13.  Departure  of  the  Prodigal  Son, 

V.  Pictoor. 

15.  River  Scene,         _          „          -  ^ 

Van  der  Neer, 

17.  Battle  Scene,        -          -          „  ^ 

Rembrandt, 

18.  Interior  of  a  Church,         -          „  - 

P.  Neefs. 

19.  Woman  at  a  Window       „          _  - 

Gerard  Dow^ 

20.  The  Flight  into  Egypt, 

Rothenhamer. 

21.  Cottage  with  Figures,       -          -  - 

G,  Metzu, 

22.  Winter  Scene,       -          ™          -  - 

Schwtalihaver^ 

23.  Portrait  of  a  Person  of  Dignity, 

Lucca  Penni. 

25.  The  Adoration  of  the  Shepherds,  - 

Parmigiano^ 

20 


No.                                        SUBJECTS  OF  PAINTINGS.  ARTISTS. 

27.  The  Nativity, 

-  JFra  Bartolomeo. 

28.  A  Carousal,          -          -  . 

6r.  TerhuTg' 

29.  Landscape,  - 

Flemish. 

30.  Portrait  of  a  Supposed  Artist, 

F.  Mieris. 

31.  Flower  Piece,       -          -  - 

Va7i  Brussell. 

32.  The  Lesson  in  Music, 

Jan  Steen- 

33.  The  Holy  Family  and  St.  John,  - 

Y      Italian  School, 

36.  Moonlight  and  Confla2;ration, 

Van  der  Nee?'. 

37.  The  Slaughter  of  Innocents, 

Van  Tulden. 

38.  A  Madonna, 

Carlo  Dolci, 

41.  Landscape  Scene, 

Zncarelli. 

42.  An  Interior  with  four  Figures, 

F.  Hals. 

43.  A  Horse  Fair, 

Palamades. 

44.  Battle  Scene,        ~          -  - 

Van  Hughtenhurgh, 

45.  Lady  at  her  Toilette,  (cop}^  of  a  picture  by 

G.  Dow,)         -  - 

46.  Portrait  of  a  Gentleman  in  a  Wig, 

"    Flemish  School. 

^7.  Masquerading  Scene, 

P.  J.  Baptist. 

^8.  An  Interior  with  many  Figures, 

D.  Tenters^  the  Younger. 

5O.  The  Young  Christ 

French  School. 

51.  An  Interior  with  Figures,  - 

French  School. 

52.  Virgin  and  Child,  - 

-  Milanese  School. 

54,  60.  Two  finished  Sketches  of  Ruins, 

G.  Pannino' 

55.  An  Ecco  Homo,    -          -  ~ 

Guido. 

56.  The  Flight  into  Egypt, 

Murillo. 

58.  The  Marriage  of  St.  Catherine, 

Ludovico  Caracci. 

69.  Portrait  of  a  Lady, 

Flemish  School. 

61.  Portrait  of  a  Prince  in  Armour, 

Van  DycJc. 

62.  Adoration  of  the  Magi, 

Van  DycTc. 

63.  The  Virgin  with  the  Infant  Christ, 

Guercino. 

64.  An  Interior,  companion  to  No.  51, 

French  School- 

65.  The  Lair  of  Serpents, 

SchriecJc, 

66.  Peter  denying  Christ, 

Jan  Steen» 

67.  Battle  Scene,        .          -  - 

Van  Ilughtcnhurg. 

68.  A  Cottage  with  Figures,  - 

Konink, 

69.  A  Poultry  Yard,    -          -  - 

HondeJcoeter. 

70.  The  Assumption  of  the  Virgin, 

Murillo. 

21 


No.  SUBJECTS  OF  PAINTINGS. 

71.  The  Battle  of  La  Hogue,  - 

72.  The  Holy  Family, 

73.  Landscape,  -  -  - 

74.  The  Martyrdom  of  St.  Lawrence, 

75.  A  Grand  Landscape, 

76.  An  Interior  with  three  Men, 

78.  Landscape,  -      .  - 

79.  The  Repose  in  Egypt, 

80.  The  Miraculous  Impression, 

81.  Landscape  _  -  » 

82.  The  Triumph  of  Christ,  - 

83.  A  Satirical  Piece, 

84.  St.  Jerome  reading  Scripture, 

86.  Landscape  and  Waterfall^ 

87.  An  Interior  with  Figures. 

88.  The  Birthday  Present,  - 

89.  The  Adoration  of  the  Magi,  -  F. 

93.  Portrait  of  William,  Prince  of  Orange, 

94.  Esther  before  Ahasuerus,  - 
96.  Lot  and  his  Daughters, 

99.  St.  Anthony  instructing  the  Fishes, 

100.  Portrait  of  Mrs.  Pritchard, 

101.  Entrance  to  a  Sea  Port,  a  Dutch  ship 

102.  Interior,  _  =  - 

103.  The  Martyrdom  of  St.  Sebastian. 

A.  Portrait  of  Franklin,* 

B.  Rubens'  Wife,       -  .  - 

C.  Landscape,  =  -  „ 

D.  Landscape,  „  -  . 


ARTISTS. 

-  English  School. 

Rubens, 

-  Richard  Wilson. 

Titian. 
Orrizonte, 
G.  Scholken. 
Cuyp. 

"  Venetian  School. 

Cignani. 
F.  Moucheron. 
Rubens. 
Velasquez. 
Gherard  Honthorst. 
J.  Ruisdael. 
Brouwer. 
Greuze, 
Fr ancles  the  Younger. 

-  Flemish  School, 

-  German  School. 

Jordaens. 
Italian  School. 
Hogarth. 
,    -    Flemish  School. 
FranJcs  the  Younger. 
Annibale  Carraci. 


Rubens. 
Claude. 
J.  Both. 


*  Note. — These  last  four  pictures  belong  to  the  private  collectiou  of  Mr.  Gideon 
Nye,  Jr. 


0 


